He has published three artist books, and his critical writing on art, music and film has appeared in the magazines Dirt, Raygun, Visions, Xtra and the transfixion blogspot , often under the name Sidral Mundet (a brand of Mexican soda pop).
During the early 1990s, Sullivan was represented by galleries in Los Angeles and New York and had some measure of conventional success, primarily with the series Residuum : paintings based on old rock and roll album covers that focused on the materiality and artistic sophistication of those objects.
The series earned the artist critical acclaim from numerous periodicals, including Art in America, The New York Times, The San Francisco Examiner and The Atlanta Journal-Constitution, as well as the active interest of several collectors and curators.
Sullivan's paintings Raw Power and Mayonnaise (1991) and Paranoid Gatefold with Grape Jelly (1993) were both prominently featured in the traveling exhibition and Prestal-Verlag catalog It's Only Rock and Roll, curated by David S. Rubin in 1995.
[3] His ability to "meticulously reproduce the tatters, jelly stains and doodles that these objects accrued"[4] has been widely noted, but by 1995 he was no longer interested in appropriation or rock and roll as subject matter.
After leading numerous experiments in impromptu musical collaboration with unsuspecting participants, permanent members of The Simian Racket now include Bongo Carlos with Sullivan performing as Stitch Jerkins.